• Trees at Madeley Manor, Staffordshire -
    Price on request

    Inscribed l..r.: Madeley Manor Sep. 7. `42

    Black chalk and pencil

    25.7 by 36.2 cm., 10 by 14 ¼ in.

     

    Provenance:

    Anonymous sale, Sotheby’s, 12th January 1966, lot 2, one of a folio;

    Private Collection until 2014

     

    Callow recalls in his autobiography:

    `During the next year, 1842, my pupils increased in number… Miss Crewe, a sister of Lord Crewe, was also a pupil, and I went to give her some lessons at Madeley Manor, in Staffordshire, the seat of Mrs. Cunliffe Offley, the aunt of Miss Crewe, with whom she was staying. I unfortunately caught a severe cold on the last day of my visit through sitting on the damp grass, so I decided to go to the South Coast to recuperate’ (William Callow – an Autobiography, edited by H.M. Cundall, 1908, pp.87-88).

     

    A view of Madeley by Callow was sold at Sotheby’s on 19th November 1992, lot 110 and another was with Leger Galleries in 1987.

     

  • Berrynarbor, Devon -
    Price on request

    Inscribed l.l.: Berry Narbor/Oct. 12. `47/pm Ilfracombe

    Pencil

    25.4 by 37.4 cm., 10 by 14 ¾ in.

  • Ilfracombe, Devon -
    Price on request

    Inscribed l.r.: Ilfracombe/1847

    Pencil

    25.5 by 37.4 cm., 10 by 14 ¾ in.

  • Tron Church, Glasgow -
    Price on request

    Inscribed l.l.: Tron Church Glasgow 1849

    Pencil

    25.1 by 35.3 cm., 9 ¾ by 13 ¾ in.

  • The Castello di Lettere near Naples -
    Price on request

    Signed with monogram l.r. and inscribed: Castel/Chateau Lettere/12 Oct. `40

    Pencil on buff paper

    37.1 by 26.1 cm., 14 ½ by 10 ¼ in.

  • Cottage at Matlock, Derbyshire -
    Price on request

    Inscribed l.r.: Matlock/1849

    Pencil

    25.2 by 35.3 cm., 9 ¾ by 13 ¾ in.

  • Bottesford Church, Lincolnshire -
    Price on request

    Inscribed l.r.: Bottesford Church/Sept. 10th 1851

    Pencil on buff paper

    26.6 b 36.8 cm., 10 ½ by 14 ½ in.

  • Marbach Castle, Germany -
    Price on request

    Inscribed l.r.: Marbach/Sept. 26/`60

    Pencil on buff paper

    26.8 by 36.8 cm., 10 ½ by 14 ½ in.

  • Conisborough Castle, Yorkshire -
    Price on request

    Inscribed l.r.: Conisborough Castle Yorkshire/Aug. 26th 1851

    Pencil on buff paper

    36.8 by 26.6 cm., 14 ½ by 10 ½ in.

  • Conisborough Castle, Yorkshire -
    Price on request

    Inscribed l.r.: Conisborough Castle/1851

    Pencil on buff paper

    26.6 by 36.8 cm., 10 ½ by 14 ½ in.
  • Piazza dei Signori, Verona, Italy -
    Price on request

    Inscribed l.l.: Piazza di Signori/Verona/Sept 19/`65

    Pencil

    35.2 by 25.1 cm., 13 ¾ by 9 ¾ in.


    The Piazza dei Signori is also known as the Piazza Dante.

  • Rufus Castle, Portland, Dorset, from the North -
    Price on request

    Inscribed l.c.: Bow & Arrow Castle/Portland. Oct. 7. `42

    Pencil on grey paper

    25.7 by 36.3cm., 10 by 14 ¼ in.

  • Castel Gandolfo and Lake Albano, Italy -
    Price on request

    Signed lower left: Wm Callow/1880

    Watercolour over pencil heightened with stopping out and gum arabic

    22.1 by 45.1 cm., 8 ¾ by 17 ¾ in.

     

    Callow visited Italy many times between 1840 and 1892. The present watercolour may be based on sketches made in 1879 when he visited Rome. 
  • Tours on the Loire -
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    Signed with monogram lower left and inscribed lower right: Tours and dated June 18th 1836
    Watercolour over pencil heightened with white on blue-grey paper
    13.7 by 23.2cm., 5 1/4 by 9 inches

    In 1831, Callow shared a studio with Thomas Shotter Boys in Paris and he remained in the city for ten years. The present watercolour dates from Callow's first sketching tour in France in the summer of 1836. He left Paris on 6th June with a German friend called Soherr and travelled along the Loire and then to the south. On 17th June he set off from Amboise arriving in Tours the same day. His diary entry for 18th June reads: `Did a little sketching, but we could find nothing very interesting. We were detained in Tours for our washing till seven that evening. They arrived back in Paris on 16th August having travelled about 1,700 miles and spent only ?20. A more finished version of this view dated 1839 is in the Castle Museum, Nottingham (see Jan Reynolds, William Callow, 1980, pl.22)
  • Figures by a Lake, a Cottage beyond -
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    Watercolour over pencil heightened with touches of bodycolour

    22 x 32 cm., 8 1/2 x 11 1/2 inches

     

    Provenance:

    Anonymous sale, Sotheby?s, 17th November 1988, lot 125, sold for ?1,900

  • Campsie Glen, East Dunbartonshire, Scotland -
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    signed lower right and inscribed verso: No 6/Campsie Glen

    watercolour over pencil heightened with gum arabic

    35.8 by 27.2cm., 14 by 10 3/4 inches

     

    Exhibited:

    London, Society of Painters in Water-colours, Winter 1862

     

    Campsie Glen is near Lennoxtown in East Dunbartonshire. It is an area of great natural beauty, famous for its picturesque series of thundering waterfalls and rocky pools, and was opened to the public in 1785 for the benefit of local industrial workers

  • View of a Mediterranean  Town from a Terrace -
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    signed lower centre

    watercolour over pencil

    16.3 by 25.2cm, 6 1/4 by 9 3/4 inches

     

    This originates from an album which included a similar Callow watercolour dated 1842. The landscape and the style of the architecture suggests this shows a town on the Italian Riviera.

  • The Neustadt, Innsbruck -
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    signed lower right and dated 1849

    watercolour over pencil heightened with bodycolour

    33 by 48.6cm, 13 by 19 inches

     

    The Neustadt is the main street in Innsbruck and is now known as Maria-Theresienstrasse. To the left is the Spitalkirche built in its present form in 1701-05 and beyond is the City Tower built in the mid fifteenth century. The monument nearest us is the Annasaule or Column of St. Anne which was built to thank St Anne for the liberation of Innsbruck from Bavarian troops in July 1703.

     

    Callow visited Innsbruck on his ten week honeymoon in the summer of 1846. Callow and his new wife Harriet left Ramsgate on 3rd July and travelled down through Germany from Cologne to Munich then across to Austria. They then went south to Trento, Verona, Vicenza arriving in Venice in mid August where they spent at least four days, returning via Fluelen and Lucerne to England.

     

    Provenance:

    A.R. Baines, C.B.E., Bramhope, Leeds, bought from the Fine Art Society, February 1955;

    By descent until 2008

     

    Exhibited:

    London, Society of Painters in Water-colours, 1849, no.199

  • View of Aix-en-Provence, France -
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    Inscribed lower right: Aix Juil 29

    Watercolour over pencil heightened with white on blue-grey paper

    13.5 by 23.3cm., 5 1/4 by 9 inches

     

    In 1831, Callow shared a studio with Thomas Shotter Boys in Paris and he remained there for ten years. The present watercolour dates from Callow?s first sketching tour in France in the summer of 1836. He set off from Paris on 6th June with a German friend called Soherr and travelled along the Loire and then continued south down the Rhone. His diary entry for the 29th July reads:

     

    ?I was to leave by coach at six for Aix, but fell asleep again, and did not wake until a few minutes before that hour. Hurried into my clothes, but found the coach had already started, so got a man to carry my knapsack and ran after it, catching it up about a mile out of the town as it was ascending a hill; arrived at Aix at 9 A.M. Intended to make some sketches, but was unable on account of the heat. I had decided to take the coach to Avignon, but it was so full that I went by another one to Orgon? (see William Callow ? An Autobiography, 1908, p.55-56).

     

    This drawing dates, therefore, from his few hours in Aix. Callow draws the city from the north with the tower of the Cathedral of St Sauveur in the foreground

     

    Provenance:

    London, Fine Art Society;

    Sir Adrian Holman, K.B.E. (1895-1974);

    By descent until 2009

  • A Boat on a River near a Bridge -
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    signed with initials lower right

    watercolour over pencil

    14.7 x 20.6cm., 5 ? x 8 ? inches

     

    Provenance:

    Anonymous sale, Christie?s, 14th July 1987, lot 219

    Private Collection, Norfolk

  • The Castle of La Batiaz, Martigny, Switzerland -
    Sold

    signed lower centre: W. Callow

    watercolour over pencil heightened with bodycolour and gum arabic

    30.8 by 42cm., 12 by 16 ? inches

     

    Provenance:

    With the Fine Art Society, London, 1950s

     

    This is likely to date from shortly after Callow?s first tour of Switzerland and Germany, when he visited Martigny, in August 1838. Callow was living in Paris at the time and took a diligence from there, in the company of a Mr Forman, to Dijon before continuing to Geneva and up to Chamonix and Mont Blanc. He then proceeded to Aosta and the hospital of St Bernard at St R?my from where he descended to Martigny (see William Callow ? an Autobiography, edited by H.M. Cundall, 1908, pp.67-71). He then continued east across Switzerland then north to Bonn from where he returned to Paris via Cologne and Brussels.

     

    This watercolour is almost certainly a studio work based on on-the-spot sketches. Two such views of Martigny, both dated 22nd August, are recorded ? one in the Victoria and Albert Museum (see Jan Reynolds, William Callow R.W.S., 1980, ill. no.20) and the other was with Spinks in the 1980s.

  • Ehrenbreitstein from the Moselle Bridge -
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    Signed lower left: Wm/Callow/1874

    Watercolour over pencil heightened with bodycolour and stopping out

    33.8 by 48.6 cm., 13 ? by 19 inches

     

    Provenance:

    London Society of Painters in Water-colours, Summer 1874

     

    Drawn from the southern banks of the River Moselle, this view looks towards the Ehrenbreitstein fortress situated over 350 feet above the Rhine River. The Fortress, one of the largest in Europe at the time, was built by the Prussian Army between 1817 and 1832, after the defeat of Napoleon in 1815, as part of the defence of Koblenz.

     

    The twin towers of the Church of St Castor in Klobenz can be seen on the north bank, situated at the confluence of the two rivers.

  • The Rialto Bridge, Venice -
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    Signed lower left: Wm Callow 1856

    Watercolour over pencil heightened with bodycolour

    32.7 by 47.6 cm., 12 ? by 18 ? inches

     

    Provenance:

    With Walker?s Galleries, London, 1936;

    With the Fine Art Society, London, 1970;

    Anonymous sale, Christie?s, 21st March 1989, lot 117;

    With Spinks, London, where bought by the present owner, circa 1990

     

    Exhibited:

    London, Society of Painters in Water-colours, 1856

     

    This is a view looking south at the Rialto bridge from near the Palazzo Civran. To the right of the bridge is the Palazzo Camerlenghi with the tower of the church of San Giacomo di Rialto beyond.  Callow first visited Venice in 1840 when his visit coincided with Turner and they were staying in the same hotel. He returned on his honeymoon in 1846. The present watercolour will be a studio work based on on-the-spot sketches.

  • A Watermill on the Seine, France -
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    Signed centre left: Wm Callow and inscribed verso: No 7/Water Mill/On the Seine

    Watercolour over pencil heightened with touches of bodycolour

    18.9 by 35.5 cm., 7 ½ by 14 inches

     

    Provenance:

    By descent in the family of the artist until at least 1927;

    Anonymous sale, Sotheby’s, 11th July 1991, lot 186;

    Private Collection, London until 2013

     

    Literature:

    Frank L. Emmanuel, William Callow, Walker’s Quarterly, 1927, p.43

     

    Callow drew various views of a watermill at St Ouen including one dated July 1831 (Rhode Island School of Design, see Jan Reynolds, William Callow, 1980, pl. 7). Stylistically the present work dates from the late 1830s.

  • Angouleme Cathedral from the south-east, France -
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    Signed with initials lower right: WC/Angouleme Juin 28. ‘36

    Watercolour over pencil heightened with touches of bodycolour on blue-grey paper

    22.7 by 26.5 cm., 8 ¾ by 10 ½ in.

     

    Provenance:

    Anonymous sale, Christie’s, 1st March 1977, lot 163

     

    This dates from Callow’s first sketching tour to Southern France in the summer of 1836. Callow set off from Paris on 6th June with a German friend called Soherr and travelled along the Loire and then to the South. They arrived in Angouleme on the evening of 26th June exhausted after a long walk in the hot sun. They slept most of the day of the 27th but Callow records in his diary: `In the evening we went on the ramparts, which surround the town; saw a lovely sunset and the full moon rise. In the interesting old town are some towers remaining of an old castle, and the ancient cathedral has some curious sculptures on the exterior’ (see William Callow – an Autobiography, 1908, pp.42). This sketch dates from the morning of the 28th June before they set off for Barbezieux. Callow writes: `The weather piping hot…. Made some sketches in the broiling sun’ (op.cit., p. 43).

     

    A smaller fully finished studio work of the same view by Callow, dated 1836, was sold at Christie’s on 5th June 2007, lot 130 for £10,200.

  • High Oaks at Didlington Hall, Norfolk -
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    Inscribed upper right: Didlington High Oaks 1882/Aug 16

    Watercolour over pencil

    25.4 by 17.8 cm., 10 by 7 in.

     

    Provenance:

    With Thos. Agnew & Sons, London, circa 1940s

     

    Didlington Hall was in the possession of the Wilson family until 1846. Charles Loftus in his memoirs `My Life from 1815-1849’ records visiting Colonel Wilson at Didlington Hall where there was a heronry in the `high oaks at the back of the Hall’ ((see William Callow – an Autobiography, 1908, p.140). By the time of Callow’s visit in 1882, the house was in the possession of William Amherst Tyssen-Amherst (1835-1909), the well known collector and bibliophile. He was created Baron Amherst in 1892 and is best known for his Egyptian collections and patronage of a young Howard Carter. Didlington Hall was requisitioned for the use of the Army during World War II which left it beyond repair and it was pulled down in the early 1950s.

     

    An undated view of `Didlington Castle’ by Callow was exhibited at the Walker Galleries, London in April 1927.

  • `A Spring Day at Florence – from San Miniato` -
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    Signed lower right: Wm. Callow/1882

    Watercolour heightened with touches of bodycolour and scratching out

    34.7 by 50.3 cm., 13 ½ by 19 ¾ in.

     

    Provenance:

    With Thos. Agnew & Sons, Liverpool

     

    Exhibited:

    London, Society of Painters in Water-colours, Summer 1882

     

    Callow was one of the best known topographical artists of the nineteenth century with a career spanning over seventy years. The son of a builder, he was employed as an eleven year old by the artist Theodore Fielding. In 1829 he went to work in Paris where he subsequently shared a studio with Thomas Shotter Boys and came under the influence of Bonington. He built up a successful teaching practice there in the early 1830s among the French nobility with his pupils including the Duc de Nemours and the tow children of King Louis Philippe.

     

    In 1838 he was elected an Associate of the Old Watercolour Society which led to his return to England in 1841. In London he again became a very successful drawing master and began to exhibit widely. From the 1830s he travelled widely in Europe producing sketches which he would later use to produce, frequently large-scale, studio works which became greatly in demand. The present watercolour dates 1882 when he was seventy and still taking pupils. He exhibited at the Old Watercolour Society until his death in 1908 at the age of 96.

     

    He first visited Italy and Florence in the autumn of 1840 and the present watercolour will date from sketches made on that visit. His diary records his progress from Milan to Venice and then on to the Padua, Ferrara and Bologna: `The next day we started in a vettura in company with two others for Florence, having been drawn by oxen at a snail’s pace across the Appennines. We slept at a solitary habitation, Albergo del Nolta, in sight of Monte di Fo, and after two days’ travelling at Florence. Here we remained for four days sketching all the wondering buildings. Forman being obliged to return to Paris, I proceeded by myself in a vettura to Rome’ (William Callow – an Autobiography, 1908, pp.77-78).

     

    This is a view of Florence from the south-west taken from near the thirteenth century church of San Miniato al Monte. The bridge over the river Arno is the famous Ponte Vecchio with the largest of the visible towers being part of the Palazzo Vecchio on the Piazza della Signoria.

  • The Harbour, Marseille, France -
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    Signed with initials lower left and inscribed lower right: Marseille Juil 28

    Watercolour over pencil heightened with touches of bodycolour on grey-blue paper

    13.4 by 23.2 cm., 5 ¼ by 9 in.

     

    Provenance:

    With the Fine Art Society, London, 1972

     

    This dates from Callow’s tour of the south of France in the summer of 1836. His diary entry for 28th July is as follows: `My twenty-fourth birthday. On arrival at Marseilles went to bed till 8 A.M. Visited the quays and made a number of sketches of merchantmen coming into harbour’ (see William Callow – an Autobiography, 1908, p. 55).

     

    Two other watercolours of Marseille, also dated 28th July 1836, were sold at Sotheby’s on 24th November 2005, lots 159 and 160 and a large watercolour `Entrance to the Port of Marseilles’, which was exhibited at the Society of Painters in Water-colours in 1838, sold at Christie’s on 2nd December 2014, lot 194 for £23,000 hammer price. 

  • View of Winchester from the North -
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    Signed lower centre: Wm Callow

    Watercolour over pencil heightened with bodycolour

    28.8  by 45.6 cm., 11 ½ by 18 in.

     

    Provenance:

    With Vicar Brothers, 12 Old Bond St., London, 1947

     

    This studio work may be based on sketches drawn in the summer of 1835. Callow left Paris in May 1835 and walked from Rouen along the Seine to Le Havre before taking the steamer to Southampton. `After touring on foot round the Isle of Wight we went to Portsmouth, and walked to Winchester, making a large number of sketches on the way, and finally took the coach to London. This tour proved to be a very pleasant one, and in this manner I was enabled to make sketches of many interesting places unfrequented by travellers’ (see William Callow – an Autobiography, 1908, p. 29).

     

    This is a view of Winchester from the banks of the river Itchen to the north of the city. Winchester Cathedral is in the centre with Winchester Palace on the hill to the right. The Palace was later converted into military barracks. Callow only exhibited three Winchester views – stylistically this is likely to be the picture exhibited at the Society of Painters in Water-colours in 1856 as `Winchester.’

  • The Falls of the Rhine at Schaffhausen, Germany -
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    Signed and dated 1863 lower left and inscribed verso: No 8/Falls of the Rhine/at Schaffhausen

    Watercolour over pencil heightened with bodycolour and stopping out

    56.6 by 84.6 cm., 22 ½ by 33 ½ in.

     

    Exhibited:

    London, Society of Painters in Water-colours, Summer 1863

     

    The Falls at Schaffhausen are the largest waterfall in Europe, located in northern Switzerland near the town of the same name. They are 75 feet high and 450 feet wide. Callow visited them at least once in the autumn of 1838 on his first tour of Switzerland. From Zurich he took a steamer to Rappenschwyl then went by coach to Lake Wallenstadt. From Ragatz he took a coach to Rorschak on Lake Constance then a steamer to the town of Constance. `On the following day posted to Schaffhausen and saw the Falls of the Rhine. Then quitted with great regret the mountain scenery of Switzerland and posted to Freiburg, where I took the coach to Strasbourg’ (see William Callow – an Autobiography, 1908, p. 69-70). John Murray’s popular guidebook to the Alps described the falls as follows: `[From a balcony over the fall], covered with the spray, the traveller may enjoy the full  grandeur of this hell of waters; and it only by this close proximity, amidst the tremendous roar and the uninterrupted rush of the river…. that a true notion can be formed of the stupendous nature of the cataract’ (John Murray, Hand-Book for Travellers in Switzerland and the Alps of Savoy of Piedmont, 1846, p.21).

     

    The Falls were a favourite subject for J.M.W. Turner who visited them in 1802, 1836 and 1841. Callow was acquainted with Turner and here has chosen the same viewpoint as in Turner’s 1833 engraving for `The Keepsake’.

     

  • The Lighthouse, Marseille -
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  • Dinant on the Meuse, Belgium -
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    Inscribed l.r.: Dinant/Augt 30\1867

    Pencil on buff paper

    274 x 380 mm., 10 ¾ x 15 in.

     

    Provenance:

    Anonymous sale, Sotheby’s, 12th January 1966, lot 2:

    Private Collection until 2014

  • Eton College Chapel from across the Meadows -
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    Signed lower right: W Callow 1836

    Watercolour heightened with bodycolour, scratching out and stopping out

    17.7 by 25.2 cm., 7 by 10 in.

     

    The present watercolour dates from 1836 and was presumably drawn in Paris from earlier sketches. He records visiting Windsor as early as 1829: `In 1829 my father was superintending some repairs at Windsor Castle for King George IV., which gave me an opportunity of seeing all over it. I was delighted with everything I saw, and made a few small sketches there’ (William Callow - an Autobiography, 1908, p.6). Eton is just over the Thames from Windsor so he could easily have a preliminary sketch then.

  • A Pony Trap on a Country Lane -
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    Signed lower right: Wm Callow 1894

    Watercolour over pencil heightened with bodycolour

    33.9 by 24.7 cm., 13 ¼ by 9 ½ in.

     

    This may be the work exhibited at the Society of Painters in Water-colours in the winter of 1894 as `Near the Village of Halton, Bucks.'

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